Klaus vom Bruch's video installation.

Klaus vom Bruch's video installation, Jam-Jam-Projekt, 1993 asserts actuality by the agency of innovation, interaction, and provocation. His hint to Charlie Chaplin adds irony and humor, moreover beyond the playfulness of this work (or perhaps in the middle of it, depending onward the viewer's location) is a place of contemplation. The space of the Kunstverein proffers possibilities for new visual perspectives. The walls and ceiling are more than just supports for the images; they become receivers and pathways. Projectors and monitors are more than transmitters--they create images. Just below the ceiling vom Bruch has hung a figure eight onto which the monitors and projectors are attached. It is an elevated movie machine from which monitors and projectors travel between the walls of the room. At various places different images are shown; their make submissive is movement in the broadest feeling For example, images of Walter Ulbricht, the former premier of the German Democratic Republic, and Muammar el Qaddafi are throw outed Both power figures have an almost operettalike quality as enlarged television images. in succession the opposite wall there are images from a Jacques Tati film: quiet, seemingly senseles now promising meaning, and packed with tension and anticipation.

The purport of the entire piece, underlined according to a direct feed from region of clouds News every hour, has the quality of spectacle--in the perception of a drama. The actors are technology, the media, the images, the projectors, the monitors, the sound; the viewers must interact and cannot withdraw from the spectacle. The otherness of the video installation is simply too grand, too overwhelming. Media reality, image reality, and spatial reality form the trinity of a recently made known hyperactual video reality, more make anxioused with seeing from afar than from seeing far; it is unfocused, imprecise. in some way it is hyperreal. This installation can make the viewer insecure, but--and this may be a conclusion of the playful structure of the piece--one always knows that the threatening mixture of media can be incline differentlyed off.

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